3D needs a trained eye. It can't be done by everybody. People who just do 3D just for the sake of commercializing their movie another five or six percent and they don't know really how to do it, they should care how to do it better by bringing other directors and collaborators into their lives to help teach and instruct how you really make a 3D movie because it's not just like putting a new lens on a camera and forgetting it. It takes a lot of very careful consideration. It will change your approach to where you put the cameras. So, 3D isn't for everybody.

Everybody loves a winner, but nobody loves a winner.

I've kept the people who've been in my career who I feel are my family. Kathy [Kennedy] had been with me since 1978. Janusz Kaminsky, my cinematographer, has made every movie with me since Schindler's List. Michael Kahn has cut every movie I've directed since 1976 when we made Close Encounters together. Rick Carter has done more than 15 of my directed films as a production designer.

So I try to re-invent my own eye every time I tackle a new subject. But it's hard, because everybody has style. You can't help it.

With all the movies I've made about history, it's not really fun because you're trying to get it right. You've got history telling how it was, and then my imagination is telling me how I wish it had been, but I can't go there, so I have to censor myself. I'm very good about stopping myself from creating history that never occurred, but it's frustrating.

The age doesn't really matter to me as it seems to matter to other people. A lot of people think that youth or age is the total sum of your knowledge about anything, and it's absolutely untrue. I think I might have even known more five years ago than I do now.

I was afraid of small spaces and I was afraid of the tree outside my window, and I had all these phobias. I think many kids have those phobias, but I probably had more than most.